Magic thunder percussion spectacular

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LIFE ON THE EDGE

CAPAC, the Composers, Authors and Publishers Association of

Canada, congratulates New Music Concerts on its 15th anniversary.

Life on the cutting edge of music is never easy. New Music Concerts
has survived with distinction, presenting challenging, exciting,
unusual and stimulating music to a growing audience.

CAPAC is proud of its members who are associated with New Music
Concerts, And, like you, we're looking forward to another 15
years of adventurous musical programming.

The Composers, Authors and

Publishers Association of Canada

1240 Bay Street, Toronto, Ont. M5R 2C2

1245 Sherbrooke St. W., Montreal, Que. H3G 1G2
1 Alexander Street, Vancouver B.C. V6Z 1B2

INJEW [IMIUSIC [CJONCERTS

5th Anniversary 1985-86 Season

MAGIC THUNDER
Percussion Spectacular
COSPONSORED

BY THE
McLEAN FOUNDATION.

Alberto Ginastera.
John Hawkins
Steve Reich |

THE ICE HOUSE
April 13,14,1986

fa JiNteW [Music (GjonceERTS

Board of Directors

NORMA BEECROFT, president

ROBERT AITKEN, artistic director
JOSEPH MACEROLLO, vice-president
MARY MORRISON,O.C., secretary
AUSTIN CLARKSON

WILLIAM KILBOURN,F.R.S.C.
MICHAEL KOERNER,C.M.

EDWARD LAUFER

Staff

JAMES MONTGOMERY, manager
KATHRINE McMURDO, development officer

Acknowledgements

NEW MUSIC CONCERTS is generously
supported by the Canada Council, the
Ontario Arts Council, the Municipality
of Metropolitan Toronto, and the Toronto
Arts Council.

LISE SCHOFIELD, programme design

New trends in the art of music.

NB

TWO NEW HOURS

New music from Canada and around the world. .
With David Grimes and Warren Davis.

SUNDAYS AT 9:05 PM
CBC STEREO 94.1 FM

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<S7?
“2

_ This concert is being recorded for future broadcast on Two New Hours.

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NEW MUSIC CONCERTS MAGIC THUNDER April 13 & 14, 1986

BN hs

SUBSTANCE-OF-WE-FEELING * (1985) JOHN HAWKINS

BOB BECKER, RUSSELL HARTENBERGER, percussion
JOANNE TOD, visuals

SEXTET ** (1985) STEVE REICH

BOB BECKER, ROBIN ENGELMAN,
RUSSELL HARTENBERGER, JOHN WYRE, percussion
BERNADENE BLAHA, MARC WIDNER, pianos

CANTATA PARA AMERICA MAGICA (1960) ALBERTO GINASTERA

ROBIN ENGELMAN, conductor

CLAUDETTE LEBLANC, soprano
BOB BECKER, JOHN BROWNELL, BILL CAHN, DAVID CAMPION,
KEN ERSKINE, RUSSELL HARTENBERGER, BEVERLEY JOHNSTON,

BLAIR McKAY, JERRY RONSON, JOHN THOMPSON, TREVOR TURESKI,
JOHN WYRE, percussion
BERNADENE BLAHA, MARC WIDNER, pianos
KEVIN FITZGERALD, celeste

RON LYNCH, sound engineer Pianos: Steinway (Remenyi House of Music)

nen ee Ir UrTEEIET =r SEES SEIT SUS SCaSSInSIE as” ar TUS “GHEP SNES Sou UEP
*World Premiere, New Music Concerts! commission with the assistance of the Ontario Arts Counci]
**Canadian Premiere

. New Music Concerts gratefully acknowledges the cosponsorship by The McLean Foundation.

NEW!

uper, classical music.

The commercial radio

station dedicated to the
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The sound of a different drummer

CT

JOHN HAWKINS

Born in Montreal in 1944, JOHN HAWKINS
received his musical education at the
Conservatoire de Musique et d'Art Dramatique
and at McGill University. He studied piano
with Lubka Kolessa and composition with
Istvan Anhalt. He also attended summer
courses at Tanglewood and in Basle,
Switzerland.

While at McGill, HAWKINS held a Woodrow
Wilson Fellowship and later received a
Canada Council Senior Arts Grant enabling
him to study for one year in New York City.
He was awarded the prestigious Jules Leger
Prize for new chamber music in 1983.
Currently Professor of Theory and Composi-
tion a tthe Faculty of Music, University
of Toronto, he specializes in the teaching
of twentieth century repertoire and is
also active as a pianist and conductor.

HAWKINS' compositions, most of them com-
missions, have been performed in the
United States, Europe and in most Canadian

HEAR SOMETHING NEW!

centres. His recent compositions include
Waves for soprano and piano, Etudes for

two pianos, Quintet for woodwinds, Prelude
and Prayer for orchestra with tenor soloist
Three Songs for tenor and harp, Dance,
Improvisation and Song for clarinet and
piano, Dance Variations for percussion

mae

quartet, Three Archetypes - Dance, Invo-

cation, Hymn for string quartet, and
subs tance-of-we-feeling for percussion duo.

SUBSTANCE-OF-WE-FEELING

substance-of-we-feeling was commissioned

by New Music Concerts through the Ontario
Arts Council and is dedicated to Bob Becker
and Russell Hartenberger. It is the third
piece in a trilogy of ''musical comedies''—
all three involving percussion instruments
—which includes Breaking Through (Jules

Leger Prize, 1983) and Dance Variations

(written for Nexus).

SUBSTANCE-OF-WE-FEELING (cont'd)

Shikasta, the first volume of Doris
Lessing's visionary novel cycle Canopus in
Argos: Archives, presents a brief but
vivid history of the world as viewed from
the special perspective of visiting. outsi-
ders. Early in the novel, one of the
"visitors'' describes ''a rich and vigorous
air, which keeps everyone safe and healthy
and above all, makes them love each other.
This supply of finer air has a name. It
is called the substance-of-we-feeling."'

In attempting to portray this mysterious
''substance'' in purely musical terms, |
invented material modelled on popular song
and dance and developed this material into
a larger-scale form, exploiting musical

and spatial symmetries in a variety of ways.

Surely this century's popular music and
theatre music is a manifestation of what
might be termed the musical collective
unconscious, a global musical intuiton
which could happily be likened to Mrs.
Lessing's ''substance-of-we-feeling''.

The work is scored for marimba, vibra-
phone, drums, cymbals and xylophone (al]

_amp1ified) and was completed in August
1985. In one continuous sonata-like

movement, its seven overlapping sections
form a palindromic or cyclic pattern —
A, BC. D..BE A.

-JOHN HAWKINS
(Excerpt from Shikasta published by
Granada Publishing Ltd., London)

MUSIGCWORKS

Announcing our latest issue #33
STARTING ALL OBSERVATIONS FROM SCRATCH

Includes: Tasting the Blaze by Pauline Oliveros;
Tensegrity Sound Sources by Andrew Culver; First
Real Snake by David Rokeby; Music Language and
Environment by David Dunn and other works in print
and on cassette tape.

Also available: MW #31 Women Voicing
pe MW #32 Atlas of Scores
Subscriptions with Cassette: | Single Copies
$20 (4 issues per year) $6 (with cassette)
1087 QUEEN ST. W. TORONTO, ONTARIO M6J 1H3 (416)533-0192

——

JOANNE TOD

Born in Montreal in 1953, JOANNE TOD
studied at the Ontario College of Art.

Building a considerable reputation as a
rising star among Canada's young artists,
JOANNE TOD has participated in numerous
solo and group exhibitions. In the past
two years she has mounted solo shows for
the Carmen Lamanna Gallery in Toronto, the
Southern Alberta Art Gallery and the Art
Gallery of Greater Victoria. Notable
group shows include: Commentary 1982-83
exhibited at the 49th Parallel, Centre for
Contemporary Canadian Art in New York and

the Carmen Lamanna Gallery (1983); Toronto

Painting at the Art Gallery of Ontario
(1984): Late Capitalism at Harbourfront's
Art Gallery (1985); Ecrans Politiques at

the Musée d'Art Contemporain in Montreal
(1985); and Image/Object/Text at Ottawa's
National Gallery

JOANNE TOD has attracted favourable
responses from the media, academia and the

H

public. She has guest lectured across
Canada, at such institutions as Queen's
University and the Emily Carr College of
Art and Design, and in Australia at the
Art Gallery of Southern Australia and
That Contemporary Art Space.

Presently JOANNE TOD is involved with
YYZ Artists' Outlet and Visual Arts
Ontario as Director. Her work is
represented by the Carmen Lamanna Gallery.

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EAR SOMETHING NEW!

SUBSTANCE-OF-WE-FEELING: VISUALS

The dominant visual motif in my backdrop
for substance-of-we-feeling is the
businessman/business suit, for where else
could this '"'rich and vigorous air which
keeps everyone safe and healthy, and above
all, makes them love each other'' find such
apt expression in contemporary society?
The symmetrical arrangement of the figures

in the painting is a visual equivalent to |

the palindromic structure of the music.
By implication, the central figure coin-
cides with the central, or fourth section
of the score which is played entirely on
drums. Finally, Carmen Miranda hovers in
the shadowy depths of the boardroom, a
reminder of the latin flavour which per-
meates substance-of-we-feeling.

-JOANNE TOD

STEVE REICH

~~

Internationally recognized as one of the

‘world's foremost living composers, STEVE

REICH was born on October 3, 1936 in New
York and was raised in New York and Cali-
fornia. He studied piano briefly as a
child and began studying Western rudimen-
tal drumming at the age of 14 with Roland
Kohloff, principal timpanist with the New
York Philharmonic. In 1957 REICH gradu-
ated with honors in philosophy from Cor-
nell University. His teachers of compo-
sition included Hall Overton, William
Bergsma and Vincent Persichetti, and he
received his M.A. in music from Mills
College in 1963 under the tutelage of
Darius Milhaud and Luciano Berio.

REICH pursued further studies from 1970-
1974 at the Institute for African Studies
at the University of Ghana and at the
American Society for Eastern Arts in
Seattle and Berkeley (Balinese Gamelan
Semar Pegulingan and Gamelan Gambang).

STEVE REICH (cont'd) SEXTET

In 1976-77, the traditional forms of
Cantillation (chanting) of the Hebrew
Scriptures captured his attention.

The work is in five movements played with-
out pause. The relationship of the five
movements is that of an arch form A-B-C-B-A.
The first and last movements are fast, the
second and fourth moderate, and the third,
slow. Changes of tempo are made abruptly
at the beginning of new movements by metric
modulation to either get slower or faster.
Movements are also organized harmonically
with a chord cycle for the first and fifth,
another for the second and fourth, and yet
another for the third. The harmonies used
are largely dominant chords with added
tones creating a somewhat darker, chromatic

STEVE REICH's upcoming commissions include and more varied harmonic language than in
the San Francisco Symphony in commemora- my earlier works. Both the cyclical move-
tion of their 75th Anniversary (1986), the ment structure and the general harmonic
Kronos Quartet (1988), the London Sinfo- language were suggested by my recently
nietta (1989), the Los Angeles Philharmo- completed work, The Desert Music (1984).
nic (1990), and the Ensemble Intercontem-
porain, Paris (1991).

In 1966 he began his own ensemble with
three musicians. Since that time, Steve
Reich and Musicians, which presently
numbers up to forty musicians, has perfor-
med throughout the United States, Canada
and Europe. In addition to performances
by his own ensemble, Mr. REICH's music has
been performed by major orchestras and
ensembles throughout the United States and
Europe.

Percussion instruments mostly produce
sounds of relatively short duration. In
this piece | was interested in overcoming

=

~ HEAR SOMETHING NEW!

SEXTET (cont'd)

that limitation. The use of the bowed
vibraphone, not merely as a passing effect,
but as a basic instrumental voice in the
second movement was one means of getting
long tones. The use of the synthesizer

as electric organ supplies the long con-
tinuous sounds not possible with piano.

The mallet instruments (Marimba, vibra-
phone, etc.) are basically instruments of
high and middle register without a low
range. To overcome this limit the bass
drum was used doubling piano or synthesizer
played in their lower registers, particu-
larly in the second, third and fourth
movements.

Compositional technique used include some

introduced in my music as early as Drumming

in 1971. In particular the substitution of
beats for rests to ''build-up'' a canon bet-
ween two or more identical instruments
playing the same repeating pattern is used

extensively in the first and last movements.

Sudden change of rhythmic position (or

phase) of one voice in an overall repea-
ting contrapuntal web first occurs*in my

Six Pianos of 1973 and occurs throughout

this work. Double canons, where one canon
moves slowly (the bowed vibraphones) and
the second moves quickly (the pianos),
first appear in my music in Octet of 1979.
Techniques influenced by African music,
where the basic ambiguity in meters of 12
beats between 3 groups of 4 and 4 groups
of 3, appear in the third and fifth move-
ments. A rhythmically ambiguous pattern
is played by the vibraphones in the third
movement and accented sometimes in 4 and
sometimes in 3 by the pianos. Similarly
in the fifth movement, but at a much
faster tempo. The result is to change the
perception of what is in fact not changing.
Another related, more recent, technique
appearing near the end of the fourth move-
ment is to gradually remove the melodic
material in the synthesizers leaving the
accompaniment of the 2 vibraphones to
become the new melodic focus. Similarly,
the accompaniment in the pianos in the
second movement becomes the melody for the

SEXTET. (cont'd)

synthesizers in the fourth movement. The
ambiguity here is between which is melody
and which accompaniment. In music which
uses a great deal of repetition | believe
it is precisely these kinds of ambiguities
that give vitality and life.

“STEVE REICR

STEVE.REICH

ALBERTO GINASTERA

ALBERTO GINASTERA was born in Buenos Aires
on April 11, 1916. He came to composition
in his early youth, and took a first prize
from the musical society, El Unisono, for
his Piezas infantiles for piano. He later
withdrew a number of early works written
before 1946, at which time he came: to the
United States on a Guggenheim Fellowship.
He returned to Argentina in 1948 and
remained there, teaching and composing,
until 1967, when he left the country to
settle in Geneva, Switzerland, where he
died on June 25, 1983.

GINASTERA, along with Villa-Lobos in
Brazil and Chavez in Mexico, combined to
focus considerable attention on Latin
America in the mid-twentieth century.

They all shared a strong interest in the
folk idioms of their respective countries,
and all eventually evolved styles incor-
porating more abstract techniques. In
both the CANTATA and in his opera Bomarzo

HEAR SOMETHING NEW!

ALBERTO GINASTERA (cont'd)

(1966), GINASTERA developed quite complex
and idiosyncratic serial methods. While
his strongest impressions were made in the
field of vocal music, in the last decade
of his life he concentrated on chamber
music and works for his second wife, the
cellist Aurora Natala.

CANTATA PARA AMERICA MAGICA

The CANTATA PARA AMERICA MAGICA is based
On ancient pre-Columbian texts. The word
"magic'' is used here in its primitive,
pre-Columbian sense. The first Christian
missionaries in America were the affec-
tionate compilers of the poems of the
Mayan, Aztec and Inca civilizations.
These are the collections from which the
text for the CANTATA was drawn, a song in
homage to America's primitive man..

One of the striking features of this work
is the successful use of contemporary
techniues to evoke an old and primitive

civilization with its moods and its music.
The serial techniques employed include
series of tones, intensity, dynamics,
pitch, rhythm and orchestral density. The
series is used in all its vertical and
horizontal relations and with constant
chromatic variations. The series is used
not only in the so-called pitched instru-
ments, such as the pianos; there is also a
relationship of six different pitches
between the six kettledrums, six tambours,
three cymbals and three tam-tams.

The forms of each of the six sections of
the cantata differ according to the struc-
ture of the thematic material employed.

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CANTATA PARA AMERICA MAGICA

TEATS

1. Prelude and Song of Dawn

Oh! You, Tzacol, Bitol, look at us, hear us!
Do not leave us, forsake us not,

Heart of the Sky, Heart of the Earth!
Protect our children, and our descendants,
whilst the sun moves and light exists!
That day should break, and dawn arrive!
Grant us good friends, grant us peace!
Oh! You, Huracan, Chipi-Caculha,
Raxa-Caculha, Chipi-Nanavac,
Raxa-Nanauac, Voc, Humahtupu,

Tepeu, Gucumatz, Alom, Qaholom,
Ixpiyacoc, lxmucane,

Creator of the sun, creator of light!

That day should break, and dawn arrive.

2. Nocturne and Love Song
Your love was like the fall of perfumed flowers.

And like the golden bird’s yours was a beautiful song.

Moon and sun shone on your forehead.
You have gone.
Long and sorrowful will be my lonely nights.

3. Song for the Warriors’ Departure

Earth trembles. i
The warriors’ song commences.
Eagles and tigers

will start to dance.

Up in the mountain

the beasts clamor:

down in the prairie

the drums call war.

Earth trembles.

Here! These are the warriors!
Admire their courage.

Born they were in the fire.
Rival spears

forged their courage.

Admire their ornaments.
Feathers of forest birds

move in their helmets.
Enemies’ teeth

adorn their breasts;

They will use bones for flutes
and human skin stretch in their drums.
Earth trembles.

Hear the outcry

of those who go to combat.
Red like blood

will the warriors make

the sun rise.

4. Fantastic Interlude (Orchestra)

5. Song of Agony and Desolation

Goodby, O sky!

Goodby, O earth!

My value and courage

are good no more.

I searched my way

under the sky, upon the earth,
through weeds and thorns.
My anger and fierceness

are good no more.

Goodby, O sky!

Goodby, O earth!

I must die, and here disappear,

under the sun and upon the earth.

Oh, point of my spear!
Oh, strength of my shield!

Go to our mountains, to our valleys.
I only await my death,

under the sky, upon the earth.
Goodby, O sky!

Goodby, O earth!

6. Song of Prophecy

Days will come without name,

when the sign of Kauil

will appear

in the eleventh Ahau,

when the brothers of the east will come.

The timbrel will sound, the kettledrum will play!
At dawn earth shall burn;

fans will fall from the sky,

in the eleventh Ahau,

with the green rain of Yaxalchac.

The timbrel will sound! the kettledrum will play!
In the katun that will come

all will change;

defeated will be those that sing,

in the eleventh Ahau.

Silent will be the timbrel and the kettle-drum!

CLAUDETTE LEBLANC

Canadian dramatic soprano CLAUDETTE
LEBLANC returns to her Toronto audience
with this performance of ALBERTO
GINASTERA's CANTATA PARA AMERICA MAGICA.

In 1982, in collaboration with ALBERTO
GINASTERA, Miss LEBLANC sang this work in
concert at the Salle Arsement in Geneva,
Switzerland. That presentation was broad-
cast live by the Radio de la Suisse
Romande.

Subsequently Miss LEBLANC appeared with
the Canadian Opera Company in Mozart's The
Magic Flute. She also performed the com-

plete Das Marienleben of Paul Hindemith

for broadcast on GCBU-FM.

In 1984, Miss LEBLANC sang the role of
Catherine of Aragon in the series ''Opera
in Concert''. Her interpretation received
unanimous critical acclaim.

ROBIN ENGELMAN

ROBIN ENGELMAN, former principal pertus-
sionist of the Toronto Symphony, has
served in that capacity with four other
orchestras in North America and has per-
formed with numerous symphonies, the
Marlboro Music Festival and the New Hamp-
shire Music Festival. He studied percus-
sion and composition with Warren Benson

at Ithaca College and has taught at Ithaca
College, the Eastman School of Music, the
University of Toronto and York University.
Touring extensively with Nexus and New
Music Concerts, ROBIN ENGELMAN has travel-
led throughout the world.

Boosey & Hawkes Music Publishers Limited

STEVE REICH

The major output of Steve Reich is now available
through Boosey & Hawkes

Drumming
Six Pianos
Music for Mallet Instruments,
Voices, and Organ

Music for Eighteen Musicians
Music for Large Ensemble
Octet Sextet

Variations for Winds, Strings
and Keyboards
Tehillim

Vermont Counterpoint
Eight Lines

Further information from the Promotion Department

BOOSRYSHAWKLO

Boosey & Hawkes (Canada)Ltd. 279 Yorkland Boulevard, Willowdale, Ontario M2J 1S7
Tel:(416) 491-1900

The Desert Music ].

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neta rs ~ Composers

In 1986 P.R.O. Canada will present $8,000 in prizes to Music Ensemble, as “the concert’s most alluring

the winners of its eighth annual Young Composers
Competition. Composers under 30 are invited to submit
works in categories tor orchestra, solo instrument or
chamber ensemble, voice, and electronic and computer
music.

Many works that have won P.R.O. Canada prizes in the
past have since been acclaimed elsewhere and we are
proud to have been able to bring recognition where it
is due:

e GLENN BUHR’s Beren and Luthien (1984 winner)
received its premiere September 11 in a performance
by the Toronto Symphony.

© JOHN BURKE's A la Source d'Hypocréne (1981 winner)
received its premiere by Montreal’s Societe de musique
contemporaine ensemble (a performance later released
on the RCI label), and was heard again in 1985 in a
performance by Toronto’s New Music Concerts.

@ FRANCIS CHAN’s Yeh-Pan Yueh (1979 winner) was
described by The New Yorker, following a 1981 New
York performance by the University ot Indiana’s New

Oi taeraree

@ JAN JARVLEPP’s Time Zones (1982 winner) received
its premiere by Toronto's New Music Concerts in 1984.

cS JOHN OLIVER’s Fall (1982 winner) received. its
premiere by New Music Concerts in 1982.

@ JEAN PICHE’s Ange (1980. winner)
recorded on Melbourne Records.

@ ROBERT ROSEN’s From Silence (1983 winner) received
its premiere that same year by the Calgary Phil-
harmonic Orchestra.

¢ DOUGLAS GARTH SCHMIDT’s Orenda (Dream Spirit}
(1983 winner) also won him tirst prize in the 1983
Okanagan Music Festival tor Composers; his Music
for Pennywhistle, Accordion and Mandolin (1984
winner) was heard during the Vancouver regional
meeting of the American Society ot University
Composers last year.

@ TIMOTHY SULLIVAN’s Scherzo Brillante (1979
honorable mention) has since been recorded by John
Torcello on Calitornia’s Digital Audiophile label.

has since been

Deadline tor entries is April 30. Call or write us for an application:

ACCRA eR tay

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